Brunhild Ferrari, Eiko Ishibashi, Jim O'Rourke — L'oreille Voleuse

It’s a star-studded cast to be sure, when Eiko Ishibashi and Jim O’Rourke are invited to make something from the vast archive of field recordings left behind by the erstwhile progenitor of said genre, Luc Ferrari.

Curated and archived by Ferrari’s widow and former GRM alum, Brunhild, the single 20-minute piece is a perambulatory landscape filled with spectres and disembodied voices, punctuated by thunder and a giant gong at the outset. There is an unmistakable forward thrust to the work, aptly called “the thieving ear”, which references the structural modus operandi while also paying homage to the blueprint of Ferrari’s most recognized achievement: Presque rien (1967-70). There was no telling just how far that “almost” would stretch.

Leaving a world of aural impressions behind, captured through the passive medium of a mic and portable recorder, Ishibashi and O’Rourke manage to retain some of the accident in ambivalent listening, while updating the frequency spectrum to contemporary sensibilities. Overall, as playful as Ferrari was, this version is more of a horror flick than an innocent sea vessel. This is desired, of course, for no one could accuse the Japan-based duo of sunny dispositions. The piece meanders, as it should, but it seems to gather purpose and complexity, like Charles Ives walking through Bladerunner. At its most urgent moments, this larcenist organ is mapped and reflected brilliantly back to us—unpredictable, cavernous, and full of winding trajectories.

Fans of the above-mentioned artists should enjoy the continued relevance of field recording and their updates in capable hands. Highly recommended!